Ghadah Al Rabee is a Saudi artist known for her exceptional art medium in which she simulate the past through reforming artworks into a different one that relates to her traditions and culture. For more of her work, follow her on Instagram.
Could you tell us more about what inspired you to pursue your current art style, and how you started it?
To begin with, I was inspired because of the virtue of God’s grace. When I was at the Art Dubai event in 2009, I noticed that a lot of artists use materials that are different from the ones we usually use. When I got back home, I presented the idea to my husband casually and he encouraged me to pursue it, followed by the support of others.
How do you look for the raw materials (candy wrappers) that you use in your works? And what’s the concept that you want to represent through them?
If you paid attention, you’ll notice how striking candy wrappers are. When someone starts preparing for a certain occasion and they go to a chocolate shop, they tend to spend a lot of time picking something that suits the kind of decorations they have in mind, or the occasion itself. Even though what attracts people are those wrappers, but after eating the chocolate they throw it away, is if it’s a waste. I want to focus on these materials that companies spend an enormous amount of money on in order to give each wrapper its own unique and striking design. Candy wrappers attract people of all ages, but they are neglected. People mostly seek relationships because they want certain things, and as soon as they stop needing those things, they cut off their relationships, just as they get rid of those candy wrappers; this a symbol of their actual needs or desires. I’d also like to point out that there are a lot of neglected things in our lives, and it’s important to start seeing them as they actually are (have more importance). And lastly, I want to focus on the fact that a lot of materials that have no value to most people can be used to create something that ends up being exhibited in art galleries and museums.
You tend to use candy wrappers that the previous generations are familiar with; how do use them to evoke nostalgia?
I’d like to make people smile when they look at my work, and that’s the exact reaction I see when someone looks at a candy wrapper that reminds them of their childhood, a certain event that happened during it, or even the taste of the candy itself. I like to use materials that we usually find in our environment. Although most of my materials are imported, I believe that old is gold, and such materials are closer to this community’s hearts, and I care about my local community.
Are there any specific topics or concepts that you try to acknowledge through your works?
Most of my works are a form of Arabization of international paintings. In my first exhibition, a lot of my works have been globally recognized, but most people –due to our customs, traditions, and religion- rejected the concept and ideas of the original painting. An example of this is when I did my own simulation of The Creation of Adam (a famous painting by Michelangelo) and I was attacked by a lot of people for it, so I started confronting them about how they were so accepting of the original painting, but did not accept my idea (my simulation). I wanted to recreate this painting by presenting all of its known details, while also including a sense of our customs and traditions to it. If the painting was originally done by a Saudi artist (or an Arab artist in general), it would be more appropriate for their traditions or religious laws. There’s a lot of paintings that I feel ashamed to look at. There’s this one time where I decided to go against the belief of the original painter and alter their painting through my simulation to what I called “Memories of My Grandfather’s House”. The little child shown in the painting is the same man who is trying to recall his memories under his grandparents’ roof.
A Ph.D. student came to me once and told me that she’s doing a research about my works, and when she showed my works to her supervisor, the supervisor’s comment was “Whenever we come across an imitation of a painting, the original painting comes to mind. What’s different about Ms. Ghadah’s works is that it mixes up our memory of the original paintings, and we tend to remember her works more than the original paintings.” Personally, I would never forget the original artist’s grace and credit, but I just want to show others that we are capable of creating artworks that are in conformity with our customs and religious laws; that’s why I try to reform an artwork in way that is completely different from the original work in regards to the concept or belief behind it.
How would you describe the art scene in Al-Madinah Al-Munawwarah and other regions in Saudi Arabia? And do you think that we are moving in the right direction in regards to improving our multiple cultural fields?
After establishing Al-Madinah’s Cultural Center, there has been a lot of noticeable activities and that why I’m anticipating for the better.
This is credited to the Saudi Arabian Society for Culture and Arts, because it was the main reason why I started. However, as artists we are always looking for more; we’d like to see exhibitions more regularly. I want to interrogate this: why is the Westerns’ art scene development faster than ours? And why do they have more growth in production than us? Simply because they have more museums and art galleries compared to us, which offers more visual aids at all times.
When I visited the Louvre Art Museum in Abu Dhabi and saw the paintings and colors, I did not want to leave. We’re really happy that some activities like Misk Art’s have started, and we’re hoping that their activities will be included in Al-Madinah Al-Munawarah and other cities in Saudi Arabia.
We are going through a transition a phase, which is very difficult; we have to be patient, and we must be supported by either the government sector or private sector. We need to make foreign investors realize that the Saudi market is suitable for selling artworks; Dubai is a perfect example of that! I started launching my works in Jeddah, followed by Dubai. Dubai is considered as an ideal place for selling artworks, and it has 79 established art galleries; that’s why businessmen and investors trust the art market in Dubai.
What are the challenges that Saudi female artists face (specifically you) in the Saudi and International art scene?
Honestly, what was challenging me the most is wearing a niqab (although I do not consider it a problem because I’m convinced by my opinion and I’m sticking to it). Sometimes I get criticized for wearing a niqab even here in Saudi, or questions like: “why are you covering your face?” Even by people who live in the Arabian Gulf. On the other hand, foreigners ask me about what the niqab represents and why I choose to wear it. This shows that foreigners show more positive reactions than Arabs. There is a reason why I wear this niqab; foreigners are influenced by social media and I’ve met many artists of different nationalities, and I would like to deliver a message by asking you this: what’s the first thing that comes to your mind when you see me wearing “an all-black attire”? (It might be “she is a complicated person” or “she’s close-minded when it comes to other cultures”) I’m also curious about what comes to your minds when I’m standing next to one of my colorful artworks.
My point is that you shouldn’t let looks fool you. We have a lot of talented and creative people in Saudi Arabia, but the stereotyping we deal with is unjust to us. As soon as Saudis travel abroad to study, they start impressing the world with their achievement in all fields. Usually, it surprises people to know that I’m from Al-Madinah Al-Munawarah, because they were expecting me to be from Jeddah, Riyadh or Al-Shargiyah. This is why I’d like to ask people to stop caring about looks, and start thinking and focusing on being more productive.
How do you find the balance between your career in education and your interest in arts?
I would really to find a job as a teacher! I used to teach in the private sector and I finished college 18 years ago, but I didn’t get a job in the government sector yet. I promised myself that I’ll never rest my hand on my cheek, and that I won’t wait for a job to support myself financially, but that doesn’t mean that I would let 18 years of my life go without being productive.
I’m grateful for my husband, my kids and my mother because they supported me, helped me and pushed me to move forward and be more productive.
I went through a suffocating phase, and that’s when I decided that I want to create more. I was just like everybody who wanted to prove themselves after graduation; when I didn’t get a job I started taking beauty courses, computer courses, dressmaking courses even first aid courses! but I always found myself going back to painting, which was a talent of mine ever since I was a kid. All of my family were supportive and they made sure that I continued doing that. When I started working with this (previously mentioned) material, I started hearing a lot of negative comments, such as “you’re using worthless garbage” but the support I got from my family reminded me of the sophisticated concept that I wanted to deliver, and I made sure to do that.
What does being a part of The Millennial Power List for Grazia magazine mean to you? And what are you planning to do next?
I was pretty surprised, to be honest. What I liked the most was the character that was drawn as a representation of me, and it made me see myself in a different way. I’d like make my children understand that pursuing art as a major is not a ridiculous idea. That, however, is most of our society’s idea about it; individuals who pursue art are unwise and useless. Nevertheless, being an artist is an honor to me, and I’d like my children to carry this honor after me. I’d also like to improve the way I use candy wrappers by starting to build sculptures using them, and such. I did start making a few sculptures that I didn’t display yet, like this sculpture I named Utopia, and I offer an invitation to Al-Madinah through it. So, as I said, I’d like to leave painting aside for a while and be more courageous so I can start making more sculptures (using the same materials) and display them.